Mari Simmulson – A Biography
Early years
Mari Simmulson (1911-2000) was born to Estonian parents in St Petersburg, Russia. At the start of the Russian revolution in 1917, the family moved back to Estonia. During the 1930s, Mari studied at the State Art School in Tallinn. After her formal education, Mari further developed her skills at the nearby Arabia porcelain factory in Helsinki.
Left image, Mari with both unique and serial-produced pieces. Right image, bear sculpture from her Gustavsberg years, 1945-49.
After marrying, Mari moved to Munich where she studied sculpture. When World War II began, Mari fled to Sweden on a fishing boat. She was forced to leave behind her family and relatives, with whom she would never be reunited.
Left image, bust depicting Wilhelm Kage. Right image, Mari at the drawing table in 1960.
Arrival at Gustavsberg
In 1945, Mari Simmulson began working at Gustavsbergs Porcelain Factory. There, she was fortunate to work alongside the factory’s legendary leader, Wilhelm Kage. Mari’s creative output ranged from unique sculptures to small animal figurines.
Prominent Upsala-Ekeby artists from left to right: Ingrid Atterberg, Taisto Kaasinen, Hjordis Oldfors, Mari Simmulson, Viking Göransson, and Sven Erik Skawonius.
The Upsala-Ekeby years
Mari left Gustavsberg in 1949, taking a position at Upsala-Ekeby. Together with Hjordis Oldfors and Ingrid Atterberg, she completed a trio of influential female designers who set the tone for the company in the fifties. Mari would remain at the factory until 1972, designing a variety of dishware, vases, wall plates, bowls, and figurines. She often opted for bold, colorful decor, offering a clear contrast to dark, unadorned pottery.
Left image, Mari sculpting an original piece in 1950. Right image, grand sculpture ”Indonesiska” (Indonesian Woman) from the 1950s.
Exotic influences
The 1950s fascination with exotic cultures found its way into Mariʼs design. This stylistic trend influenced the form, decor, and naming of the objects. The acclaimed grand sculptures depicting women from Africa and Asia are fine examples of exoticism. Mari often expressed admiration for the posture and demeanor of women all over the world.
Left image, large-footed bird sculpture from the 1960s. Right image, Mari and her cat at home in 1961.
Fly like a bird
Mari was highly influenced by the air-themed paintings of Marc Chagall. It is no coincidence that birds are a recurring theme in her artwork. “Air was important for her. She said clearly that she did not want to be buried in the ground”, Mari’s daughter recalls.
Left image, Mari and girl sculpture from 1950. Right image, Mariana vase from 1960.
Contemplative women
Women are ubiquitous in Mari’s artwork. They are often represented with almond-shaped eyes behind heavy eye lids. The women typically have deep, thoughtful expressions, which contrasts with the playful colors. Mari’s world was a contrast of light and dark, laughter and solemnity, all at the same time.
Left image, grand dish with playful theme from 1953. Right, Mari in the Upsala-Ekeby showroom in 1959.
After Upsala-Ekeby
Mari left Upsala-Ekeby in 1972, finishing her career with a few brief stints at other Swedish ceramic factories. She is remembered as a prolific artist with a strong personality who held fast to her artistic integrity. At the same time, she understood that the objects she created should be marketable as well as beautiful. Interest in Mari’s artwork is at an all-time high today, and her two daughters give frequent lectures on her life and artistry.
Left image, Mari and daughter Liska, 1963. Right image, grand Senegal vase, 1957.
